19-09-2020 - PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959

Charlie Parker & Dizzy Gillespie

19-09-2020 - PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds / before 1959   >>Charlie Parker & Dizzy GillespieThe Dominos, Elmore James, Tony Bennett, Bull Moose Jackson,Charlie Parker,Lowell Fulson,T-Bone Walker,Frank Sinatra,Hazel Scott, Art Tatum,Django Reinhardt<<

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before 1959

One of a handful of musicians who can be said to have permanently changed jazz, Charlie Parker was arguably the greatest saxophonist of all time. He could play remarkably fast lines that, if slowed down to half speed, would reveal that every note made sense. "Bird," along with his contemporaries Dizzy Gillespie and Bud Powell, is considered a founder of bebop; in reality he was an intuitive player who simply was expressing himself. 

Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis' emergence in the 1970s that Dizzy's style was successfully recreated.

Charlie Parker & Dizzy Gillespie 

My Melancholy Baby (Ernie Burnett / George Norton)

Mohawk (Charlie Parker)

Bloomdido (Charlie Parker)

Relaxin' with Lee (Charlie Parker)

from Bird and Diz / Rec. June 6, 1950

This collection of 78 rpm singles, all recorded on June 6, 1950, was released in 1956. Several things distinguish this from numerous other quintet recordings featuring these two bebop pioneers. It was recorded during the period that Parker was working under the aegis of producer Norman Granz, whose preference for large and unusual ensembles was notorious. The end result in this case is a date that sounds very much like those that Parker and Gillespie recorded for Savoy and Dial, except with top-of-the-line production quality. Even more interesting, though, is Parker's choice of Thelonious Monk as pianist. Unfortunately, Monk is buried in the mix and gets very little solo space, so his highly idiosyncratic genius doesn't get much exposure here...

The Dominos - Sixty Minute Man

Elmore James - Dust My Broom

Tony Bennett - Cold, Cold Heart

from Hit Collection from 1951, Vol. 1

1950S MUSIC

The decade of the Fifties gave birth to Rock and Roll. When Bill Haley’s Rock Around the Clock became popular in 1955, the nation learned to swing to a whole new sound. Prior to that the Big Band Era from the 40’s was still the the driving force in music.

A talented American saxophonist who was also responsible for some of the hottest, most suggestive R&B ever recorded.

Bull Moose Jackson 

We Can Talk Some Trash (Henry Glover / Lucky Millinder)

Sometimes I Wonder (Terry Thomas)

from Classics: 1947-1950

While touring through Texas in 1945 with the Lucky Millinder Orchestra, Benjamin Clarence Jackson, Jr. was dubbed Bull Moose Jackson by drummer Panama Francis, who apparently exclaimed: "You look like a moose coming over the hill." Tall and powerful with a friendly expressive face, the bespectacled saxophonist was riding a tide of popular success by the time these recordings were cut for the King label between September 1947 and September 1950 in New York, NY; Linden, NJ; St. Louis, MO; and Cincinnati, OH. Bull Moose Jackson & His Buffalo Bearcats (the "Buffalo" was dropped beginning in 1950) were an all-purpose R&B jump band balancing upbeat novelty cookers with remarkably handsome ballads. The Bull Moose discography glistens occasionally with the names of jazz heroes like Count Basie's flute and saxman Frank Wess and Ellington trumpeter Harold "Money" Johnson. It's obvious why these records were popular in their day...

Jazz giant who changed the face of the entire form, practically inventing modern jazz and shaping the course of 20th century music.

Charlie Parker 

The Bird

Another Hair-Do

Parker's Mood  (Charlie Parker)

from Charlie Parker Vol. 6 (1947-49)

Between December 1947 and November 1949, Charlie Parker realized an incredibly diverse body of work that makes this third installment in the Classics Charlie Parker chronology a serious candidate for "most excellent all-around sampler of Charlie Parker's music." Here's Bird sitting in with a big band arranged by Neal Hefti. Here's Bird in a more intimate setting with Hank Jones, Ray Brown, and Shelly Manne. Here's Charlie Parker's All Stars, the band that played the Royal Roost during the autumn of 1948: Miles Davis, John Lewis, Curly Russell, and Max Roach. The session of September 18, 1948, was unusually fruitful. Each selection is strangely beautiful. "Parker's Mood" is Charlie Parker's ultimate statement on the blues, and should be used whenever someone needs a sample of this man's artistry... (AllMusic)

One of the founders of West Coast America blues, recorded steadily from the '40s through '90s.

Lowell Fulson 

Night and Day (Lowell Fulson)

Fulson Boogie (Lowell Fulson)

Scotty's Blues

Let'S Throw A Boogie Woogie

from 1947-1948

This is a collection of early Lowell Fulson sides recorded for several small labels in 1947 and early 1948, prior to Fulson's signing with Swing Time Records (two of his Swing Time sides are included here, "Scotty's Blues" and "This Train Is Leaving"). Although there is a charming and unadorned simplicity to several of these tracks, including the opener "Night & Day" and the fiery "Fulson Boogie," which pairs Fulson with his brother Martin Fulson on twin guitars, Lowell Fulson's mature sound didn't develop until he began working with pianist Lloyd Glen and alto saxist Earl Brown a little further down the road.

During the 1930s through the 1950s, he fused influences of the past--including jazz and swing--and pioneered a harder, funkier style of blues.

T-bone Walker 

T-Bone Boogie (feat. Marl Young And His Orchestra) [Recorded in Chicago, May, 1945]

No Worry Blues (feat. Jack McVea All Stars) [Recorded in Los Angeles, September 30, 1946]

Call It Stormy Monday (Recorded in Hollywood, September 13, 1947)

from Classics, 1929-1947

Modern electric blues guitar can be traced directly back to this Texas-born pioneer, who began amplifying his sumptuous lead lines for public consumption circa 1940 and thus initiated a revolution so total that its tremors are still being felt today.

One of the towering figures of the 20th century, the first teen idol and the definitive saloon singer, the latter exemplified on a series of '50s concept albums.

Frank Sinatra 

These Foolish Things Remind Me of You (Harry Link / Holt Marvell / Jack Strachey)

I Don't Know Why (I Just Do) (Fred E. Ahlert / Roy Turk)

(I Don't Stand) A Ghost of a Chance (Bing Crosby / Frank Sinatra / Ned Washington / Victor Young)

from The Voice of Frank Sinatra 1946

In 1945, Frank Sinatra recorded his first album after a career previously devoted solely to single records. Over two sessions, he performed the eight songs included in The Voice of Frank Sinatra, which Columbia released as a four-LP set of 78-rpm records on March 4, 1946. The collection quickly topped the then-recently established Billboard album chart. The Voice of Frank Sinatra was a precursor to the "concept" albums Sinatra would pioneer at Capitol eight years later, a carefully chosen and arranged selection of songs creating a specific mood...

Though she didn't call it third stream, and it wasn't associated with the genre, Hazel Scott was another musician who found a successful way to blend jazz and classical influences. Scott took classical selections and improvised on them, a practice dating back to the ragtime era.

Hazel Scott 

Calling All Bars (Leonard Feather)

Valse in "D" Flat Major, Op. 64 Nº 1 (Minute) (Frédéric Chopin)

Two Part Invention in "A" Minor (Johann Sebastian Bach)

Hazel's Boogie Woogie

from 1939 - 1945

A brilliant pianist who also had a warm singing voice, Hazel Scott gained some recognition in the early '40s for her swinging versions of classical themes. This valuable CD has all of her early recordings through May 1945, most of which have been rarely reissued. Scott is first heard on four songs with a pickup group organized by Leonard Feather called the Sextet of the Rhythm Club of London. While that unit features clarinetist Danny Polo and altoist Pete Brown, the next 16 selections (four of which are V-discs) put the spotlight entirely on Scott, who is backed by either J.C. Heard or Sid Catlett on drums...

Jazz pianist widely regarded as a musical genius, who influenced countless musicians with his harmonic complexities and unusual chord sequences.

Art Tatum 

Tea for Two

St. Louis Blues

More Than You Know feat. Lionel Hampton, Buddy Rich

from Tea For Two 1944

Art Tatum was among the most extraordinary of all jazz musicians, a pianist with wondrous technique who could not only play ridiculously rapid lines with both hands (his 1933 solo version of "Tiger Rag" sounds as if there were three pianists jamming together) but was harmonically 30 years ahead of his time; all pianists have to deal to a certain extent with Tatum's innovations in order to be taken seriously. Able to play stride, swing, and boogie-woogie with speed and complexity that could only previously be imagined, Tatum's quick reflexes and boundless imagination kept his improvisations filled with fresh (and sometimes futuristic) ideas that put him way ahead of his contemporaries...

Legendary, almost mythical gypsy jazz guitarist of the swing era, whose collaborations with violinist Stephane Grappelli are musical landmarks. Django Reinhardt was the first hugely influential jazz figure to emerge from Europe -- and he remains the most influential European to this day, with possible competition from Joe Zawinul, George Shearing, John McLaughlin, his old cohort Stephane Grappelli and a bare handful of others.

Django Reinhardt 

Improvisation No. 3, Pt. 1 (Django Reinhardt)

Improvisation No. 3, Pt. 2 (Django Reinhardt)

Douce Ambiance (Django Reinhardt)

from 1942 - 1943

This is Django Reinhardt during the war years, without the services of perennial partner Stephane Grappelli and leading a large band in Paris (Grappelli would return for stretches after the war). Even sans his friend's simpatico violin, Reinhardt is still impressive on these 21 quality sides, picking nicely throughout. Heavy on his own material, set highlights include a two-part "Improvisation No. 3," "Belleville," and "Douce Ambiance." The sound remains anchored in Reinhardt's earlier Hot Club days of the late '30s, touched by a bluesier-than-normal strain and some hardened swing. A nice bet for dedicated listeners.